But we're happy
Is it worth learning all music theory
-
- KVRAF
- 9133 posts since 6 Oct, 2004
My wife understands music theory. It's a type of descriptive language, and I am not readily bi-lingual. To me, a 'circle of fifths' involved whisky bottles at a bonfire
But we're happy
But we're happy
-
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
music theory is fun
https://youtu.be/TdEOtjSL8z4
The first entry is the JS Bach. It's just a diminished seventh chord but it jumps out like nobody's business, because 1) it's unprepared "out of nowhere" (or deliberately prepared in the negative; the explanation for it is what? D#º7 out of D major... viiº7 of ii? urgh) and 2) the way it's voiced is... "wrong".
https://youtu.be/TdEOtjSL8z4
The first entry is the JS Bach. It's just a diminished seventh chord but it jumps out like nobody's business, because 1) it's unprepared "out of nowhere" (or deliberately prepared in the negative; the explanation for it is what? D#º7 out of D major... viiº7 of ii? urgh) and 2) the way it's voiced is... "wrong".
-
- KVRAF
- 5756 posts since 29 Sep, 2010 from Maui
Fun!
Being that for me, composition is mostly a mechanical affair, music theory certainly
would go a long waytowards moving it into the cerebral. It's hard to consider something
when it hasn't even occurred to you that you're doing that. Unfortunately, I'm far too
lazy to actually study anything these days.
Being that for me, composition is mostly a mechanical affair, music theory certainly
would go a long waytowards moving it into the cerebral. It's hard to consider something
when it hasn't even occurred to you that you're doing that. Unfortunately, I'm far too
lazy to actually study anything these days.
-
- Banned
- 995 posts since 4 Feb, 2021
Learn about what you want to use and forget the rest unless it is for passing an exam or other practical purposes. If me and my bandmade had not studied, we would not be able to make the Electrofolk we do now and retain both our interest in classical music and modern electronic music within our style. Unless you are a movie composer who has to be cable of several styles or something, there is no reason to learn it all.
Kind Regards
Gothi
Kind Regards
Gothi
Tribe Of Hǫfuð https://soundcloud.com/user-228690154 "First rule: From one perfect consonance to another perfect consonance one must proceed in contrary or oblique motion." Johann Joseph Fux 1725.
-
- KVRist
- 47 posts since 24 Nov, 2009
Replying with my own self-assessment - I have hit diminishing returns on investment in harmonic theories. Naming chords and their relationships is useful for communicating as a player, but in compositional practice I'm very modal, very scale-oriented:
Choose a scale
Progress through the scale via emphasis on groups of intervals, certain intervals are the signifiers of the scale's character and must be played to sound like that scale
If I play scale degrees as a clump that's a "chord", if I spread them over time that's a "melody", but - all music is one-dimensional once it turns into sound pressure
If I want more progression, change the scale over time. I can use the circle of fifths to dial in smoother progression as needed
If I want spicy chords play parallel scales
The order, relative volume and octave of the notes reveals the scale and its emphasis, anticipation is created by manipulation of these things
Triads and larger will "lock in" the harmony; starting with monophonic and duophonic arrangement is useful for establishing fluidity and limiting the triads to the central moments
Combine all of those rules and it's a toolbox, it can build out the harmonic elements of a song without so much trial and error, but without being too trite or restrictive on style either.
Choose a scale
Progress through the scale via emphasis on groups of intervals, certain intervals are the signifiers of the scale's character and must be played to sound like that scale
If I play scale degrees as a clump that's a "chord", if I spread them over time that's a "melody", but - all music is one-dimensional once it turns into sound pressure
If I want more progression, change the scale over time. I can use the circle of fifths to dial in smoother progression as needed
If I want spicy chords play parallel scales
The order, relative volume and octave of the notes reveals the scale and its emphasis, anticipation is created by manipulation of these things
Triads and larger will "lock in" the harmony; starting with monophonic and duophonic arrangement is useful for establishing fluidity and limiting the triads to the central moments
Combine all of those rules and it's a toolbox, it can build out the harmonic elements of a song without so much trial and error, but without being too trite or restrictive on style either.
